Who is Joe Chindamo?
I’m an Australian composer and pianist. My musical life has travelled through many landscapes, from studio work and jazz to the concert hall, but the constant has always been storytelling through sound. I’m interested in how music can reveal character, drama, and emotion. Most of my energy these days is devoted to composing new works and collaborating with orchestras, chamber groups, and soloists who bring those compositions to life.
What would you do differently from what you do now?
I can’t really imagine a life outside music, so in that sense I wouldn’t choose a different path, but within that life, there are certain things I might approach differently. Much of what I did at each stage reflected what genuinely interested me at the time, and I don’t regret that. Arriving as Composer-in-Residence with the Melbourne Symphony Orchestra in 2026 feels, in many ways like finding the musical home I’ve been searching for all my life.
If I could change anything, it might be to approach the journey with a little more patience, less anxiety, and more strategy. I was recognised early as a pianist – performing in TV orchestras, film soundtracks, and as a session musician – and those opportunities came naturally.
The challenge arose, as it does for many gifted musicians, when the time comes to shift from performing in service of others’ projects to pursuing their own artistic vision. Making this transition, recognition often grows slowly. At first, it may only be you and a few close people who believe in what you’re doing. It takes years before that circle widens.
Creating the work itself was never the difficulty for me: the greater challenge was learning how to present it and advocate for it. Recognising that distinction takes time, because it requires being honest about what is, rather than what might be, especially when it comes to how you and your work are perceived by others – and it that is something I would approach differently if I had my time again.
Who inspires you and why?
Music has always been a hedonistic experience for me. Of course, I quickly lose interest if there isn’t intellectual depth or harmonic variety, but despite a lifetime of deep study, my relationship with music is still very much like that of a passionate listener – curious, emotional, and alive to every nuance.
I’m still inspired by the music I’ve always loved: Bach, Mozart, Chopin, etc. Since embarking on composition as a serious pursuit, 20th-century masters like Ravel, Stravinsky, Prokofiev, Bartók, Shostakovich, Schnittke, and even Adams and Glass et al have shaped the evolution of my writing.
I don’t listen to jazz much these days, but when I do, I return to the artists I loved as a teenager: Errol Garner, Chick Corea, Miles Davis, Bill Evans, Stan Getz, Freddie Hubbard… Perhaps more for enjoyment than inspiration. Sometimes I indulge in a good pop song, but recently my listening has taken on a strong operatic bias as I prepare to compose an opera for Victorian Opera.
What would you do to make a difference in the world?
Art changes how we experience being alive. Through the very creation of music, we can offer moments of insight, connection, and beauty that may enrich the lives of others. Inspiring the next generation of artists through my work is important – showing them what’s possible and encouraging curiosity and creativity.
I also hope my journey demonstrates the importance of reinvention at any stage of life. Having started composing for orchestras relatively late, it’s a reminder that creative renaissances can happen throughout life.
Favourite holiday destination and why?
Italy feels like a second home. As the son of Italian migrants, I grew up immersed in Italian culture and visited Naples regularly in my early twenties for piano lessons. Italy’s streets, architecture, music, and food feel deeply familiar.
My heritage also informs my work: Machiavelli’s Mirror, my most recent chamber piece, commissioned by the Melbourne Chamber Orchestra and premiered by them in February 2026, is a Renaissance suite for string orchestra, with each movement dedicated to a key figure from the era.
When friends come to town, what attraction would you take them to, and why?
Usually, I invite them into my world rather than a tourist spot. A walk through my Fitzroy North neighbourhood is a favourite – vibrant, bohemian, full of character. Occasionally, I’ll share a meal with them at my mother’s place, at the family home where I grew up, which adds a sense of history and connection.
What are you currently reading?
I’ve just finished Lionel Shriver’s Mania, which explores human behaviour and contemporary pressures with intelligence and humour. I enjoy books that linger after the last page and inform the way I think about the world – and sometimes about music.
What are you currently listening to?
My listening is closely tied to the projects I’m working on. As part of my MSO residency, I’m composing a flute concerto for flautist Eliza Shephard, which has led me to explore the flute concerto repertoire, discovering familiar and unexpected gems. Immersing myself in the genre helps shape the sound worlds I’m creating.
Happiness is?
Happiness comes in many forms. There’s the extraordinary moment when a piece I’ve prepared is played for the first time by an orchestra, ensemble, or soloist – hearing it come alive, sometimes beyond what I imagined. I also find happiness at the piano in private, meditative ways. Most of my time there is spent exploring music I’ll never play in public.
It’s a deeply personal relationship – a kind of therapy that has probably saved me a small fortune in psychologists’ fees. The piano is a place to think and not think, to connect with myself and yet escape myself. Happiness is also quality time with my partner, knowing that my daughter is happy and prospering in her own life and career, lively dinners with friends, and quiet moments spent with my dog, Clara.
What does the future hold for you?
My concerto for trombone and orchestra had its European debut in Ireland under John Wilson, with Peter Moore, principal trombonist of the LSO, as soloist. A recording with the London Sinfonia is on the cards – while not confirmed – it remains very much on John’s agenda. If that happens, it would expand the reach of my music internationally; I’m at a point where one opportunity of this kind could have an exponential effect on my career.
In the meantime, I continue to compose for orchestras, chamber groups, and soloists. Every new piece is an opportunity for discovery, and the joy of reinvention is one of the greatest pleasures of being a composer. My MSO residency continues to offer exciting opportunities to explore new works and collaborate closely with the orchestra, helping me shape the next chapter of my music.
Joe’s new composition Are there any questions? will receive its world premiere by the Melbourne Symphony Orchestra in Stravinsky & Chindamo – which will be presented at Hamer Hall – Arts Centre Melbourne on 19 & 21 March 2026. For more information, visit: www.mso.com.au for details.
Image: Joe Chindamo – photo by Cat Li